This music was written by Miles as a soundtrack to the documentary "A Tribute to Jack Johnson". Johnson was a black boxer, heavyweight champion in 1908. He was a black symbol - Miles, always acutely aware of racial prejudices, felt a connection with Johnson. Unusually, Miles wrote liner notes himself for the album, showing his strength of feeling - he says how Johnson was sophisticated, into wine, cigars, and the good life, and he tells of how whites resented this. Regardless of the complicated history of Johnson - thrown fights, the suicide of his wife, conviction for violating a slavery law (a frame up, says Miles) - the music on this disc surely does him justice.

This disc gets the best of both worlds - it is typical Miles rock-jazz fusion from the period, but since it was a film score, it is infinitely more accessible than "Bitches Brew". It begins with rocky drums and a funky bass line. Michael Henderson is on fine form on the Fender bass throughout the album, as is John McLaughlin on electric guitar. The two combine with Bill Cobham's relentless drum beat to get a real groove to the first track - Miles waits through two minutes of the rhythm section before playing. When he does, it is unmistakable Miles - the short, screaming phrases, reminiscent of the track "Bitches Brew". Miles continues for ten sublime minutes of soloing, before quietness and despair creep in around 11:35 in. Miles puts in a mute and there is a couple of minutes of poignant reflection. Then the groove picks up again and it's Steve Grossman's turn to solo on the soprano sax, wild and frantic. Herbie Hancock on keyboards chips in a solo or two, and Miles end the funky, fun track with another solo.
"Yesternow" is supported by a stop-start bass riff from Henderson, and Hancock's keyboards (which sound like those from "In a Silent Way"). Miles wails over the top in mournful style, and for a good ten minutes things stay this way, with some typically assured soloing from Miles, Hancock and McLaughlin. However, after Grossman's solo, things take a strange turn - again the band degenerate into quiet, mournful sound as they did half way through "Right Off". Cobham's drums begin to pound a funky beat and Miles drags the band out of it with a new melody. Then a new bass riff appears - signifying "The Theme from Jack Johnson" which Miles was to use many times in live performances at the time, showing how much he liked the music. Miles begins yet another punchy, broken up solo. After five minutes of this, some weird feedback style distortion appears, which lasts for the remaining five minutes of the track, while "The Theme" continues undisturbed underneath. Finally, the quiet passage returns, and an actor playing Jack Johnson speaks over the top to end the album.

Another sterling job by Teo Macero (who is unusually credited by Miles in the notes). There is none of the cut and paste editing of "Bitches Brew" but he succeeds in making the album sound top notch.

Miles said this was one of his favourite albums he ever made. It's hard to disagree - it's relentlessly funky and groovy, with some superb solos by Miles. It's a great way to introduce yourself to Miles' fusion period, since it is less wild than his others. I'm a huge Miles fan, so I guess if you've tried one of his other fusion records and didn't like it, this isn't for you. But if you haven't, this is a great way to try out the Miles sound of the early 70s. Great fun, and powerful music.